100+ of the Best Resources for Learning Music Apps, Games, Courses & More!
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Fftuner Basic Instructions. (For Chrome Or Firefox, Not
FFTuner basic instructions. (for Chrome or Firefox, not IE) A) Overview B) Graphical User Interface elements defined C) Measuring inharmonicity of a string D) Demonstration of just and equal temperament scales E) Basic tuning sequence F) Tuning hardware and techniques G) Guitars H) Drums I) Disclaimer A) Overview Why FFTuner (piano)? There are many excellent piano-tuning applications available (both for free and for charge). This one is designed to also demonstrate a little music theory (and physics for the ‘engineer’ in all of us). It displays and helps interpret the full audio spectra produced when striking a piano key, including its harmonics. Since it does not lock in on the primary note struck (like many other tuners do), you can tune the interval between two keys by examining the spectral regions where their harmonics should overlap in frequency. You can also clearly see (and measure) the inharmonicity driving ‘stretch’ tuning (where the spacing of real-string harmonics is not constant, but increases with higher harmonics). The tuning sequence described here effectively incorporates your piano’s specific inharmonicity directly, key by key, (and makes it visually clear why choices have to be made). You can also use a (very) simple calculated stretch if desired. Other tuner apps have pre-defined stretch curves available (or record keys and then algorithmically calculate their own). Some are much more sophisticated indeed! B) Graphical User Interface elements defined A) Complete interface. Green: Fast Fourier Transform of microphone input (linear display in this case) Yellow: Left fundamental and harmonics (dotted lines) up to output frequency (dashed line). -
SBHS Finally Open "We're Not Getting a Revised Site Plan in (Time for the Scheduled Meeting)," Schaefer Argued
IN THIS ISSUE IN THE NEWS Football Community Unity Day Page 17 Pages 12-13 SEPTEMBER 18, 1997 40 CENTS VOLUME 4, NUMBER 48 Rezoning ordinance introduced Public hearing on Deans- Rhode Hall Road site is scheduled for Nov. 5 BY JOHN P. POWGIN Staff Writer n ordinance to rezone approximately 120 acres surrounding the intersection of A Route 130 and Deans-Rhode Hall Road in South Brunswick to allow for more concentrat- ed development cleared its first hurdle Tuesday when the Township Committee voted 4-1 to offi- cially introduce the proposal. Committeeman David Schaefer cast the lone vote against introducing the ordinance, saying he felt that his colleagues were "rushing this along for no reason." The ordinance's second reading, which will be accompanied by public comment on the matter followed by the final vote on its adoption, has been scheduled for the committee's Nov. 5 regu- Senior Greg Merritt takes a test on the first day of school at the new South Brunswick High School: figuring out his lar meeting. locker combination. For more pictures of the opening, see pages 3 and 9. The committee previously asked Forsgate (Jackie Pollack/Greater Media) Industries, the South Brunswick-based firm which has requested the land in question be rezoned from light industrial (LI) 3 to LI 2, to provide fur- ther information on its proposal, including a revised site plan and traffic impact studies. SBHS finally open "We're not getting a revised site plan in (time for the scheduled meeting)," Schaefer argued. Revised calendar day, early-release schedule on school delays, "they sought the guid- "Let's be realistic. -
The Carillon United Church of Christ, Congregational (585) 492-4530 Editor: Marilyn Pirdy (585) 322-8823
The Carillon United Church of Christ, Congregational (585) 492-4530 Editor: Marilyn Pirdy (585) 322-8823 May 2013 As May is rapidly approaching, we are gearing up for the splendors of this Merry Month. We anxiously and Then, just 3 days later in the month, we come to one gratefully await the grandeur of the budding trees and of America’s most favorite holidays – Mother’s Day, shrubs, the lawns which are becoming green and May 12. On this day we honor our mothers – those increasingly lush, the birds busily gathering nesting persons who either by birth or by their actions are as materials for their about-to-be new families, and fields mothers to us through love, kindness, compassion, being diligently groomed and planted for the year’s caring, encouraging, and so much more. It’s on this day growing season. In addition to looking forward to we acknowledge our mother’s influence on our lives, experiencing all these spIendors, I scan the calendar and whether they are yet in our midst or have gone before can’t help but think that May is really a month of us to God’s heavenly realm. On this day also, we remembrance. Let me share my reasoning, and celebrate the blessing of the Christian Home. It’s a perhaps you will agree. special day, indeed – this day when we again remember May 1 is May Day – originally a day to remember the our mothers! Haymarket Riot of 1886 in Chicago, Illinois. Even And then, on May 27, we celebrate yet another day though the riot occurred on May 4, it was the of tribute – Memorial Day. -
FORW ARD , MARC H • Zn• Pian Os
FORW ARD , MARC H • zn• pian os The Research Laboratory of this Company is constantly working to Improve the piano-in design and in \vorking parts. It is our policy to follow up every idea that may hold the germ of advanc~n1ent in piano building. Because of this constant striving for improve ment, plus the care and conscience that goes into every instrument we produce, money cannot buy grca ter val ue than that in the pianos listed below. M ..~t---------------____-tl~ MASON {1 HAMLIN KNA.BE CHICKERING IVIARSHALL {1 WENDELL J. {1 C. FISCHER THE AMPICO DEVOTED TO THE PRACTICAL. SCIENTIFIC and EDUCATIONAL ADVANCE1\tlENT of the TUNER .·+-)Ge1- ------ ------ ------ -I19JI-4-· AMERICAN PIANO COMPANY Volume 8 52.00 a year Number 12 Ampico Hall (Canada, $2.50; Foreign, $3.00) 25 cents a copy 584 Fifth Avenue New York Published on th ] 5th dn.y of each month P. O. Box 396 Kansas City. fissourl Entered a. Second Class Matter July, 14, 1921, at the Post DHice at Kansas City, Mo., Under Act of March 3, 1879. MAY, 1929 457 The Aeolian Factory at Garwood, New Jersey, where the wonderful Duo_Art tions are manufa tured. Are You a Gulbransen Registered Mechanic? If not you should be. You can if you have had five or more years experi ence as a player mechanic and tuner and are fami1iar with The George Steck Piano fa c the Gulbransen. tory at Neponset, Mass. , ne of the Great Plants of the Send us this coupon and we will tell you how to reg Aeolian Company. -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
Tunelab Piano Tuner
TuneLab Piano Tuner FOR ANDROID 1. What is TuneLab Piano Tuner? 1 - basics and definitions of terms used in later chapters. 2. Normal Tuning Procedure 10 - your first tuning with TuneLab. 3. The Tuning Curve 15 - what it is and how to modify it. 4. All About Offsets 19 - four different kinds of cents offsets used by TuneLab. 5. Over-pull (Pitch-Raise) Tuning Procedure 21 - how to make a pitch raise more accurate. 6. Calibration Procedure 24 - to ensure absolutely accurate pitches. 7. Historical Temperaments 27 - unequal temperaments for period music, or for modern development. 8. Working with Tuning Files 29 - how to select files & folders for saving tunings. 9. PTG Tuning Exam 33 - how to capture a master or examinee tuning, detune, and score the exam. 10. Split-Scale Tuning 36 - (Classic tuning mode only) how to tune poorly-scaled spinets. © 2019 Real-Time Specialties August 2019 (734) 434-2412 version 2.4 www.tunelab-world.com Chapter What is TuneLab Piano Tuner for Android? 1 TuneLab is software that helps you to tune pianos. This form of the software runs on Android devices with Android 4.0 or later. Other versions of TuneLab are also available for iPhone/iPad/iPod Touch devices and for Windows computers. There are other manuals to describe these other forms of TuneLab, and they can be found on our web site at tunelab-world.com. This manual describes only the Android version of TuneLab. Visual Tuning TuneLab is a software program that turns an Android device (phone or tablet) into a professional Electronic Tuning Device, which provides a piano tuner with real-time visual guidance in tuning. -
Achieving 21St Century Standards of Excellence in Tuning
Achieving 21st Century Standards of Excellence in Tuning Midrange Piano Tuning How to pass the mandatory aural portion of the PTG RPT Tuning Exam Bill Bremmer RPT Madison, Wisconsin June, 2007 Introduction Piano Tuning standards have taken a Quantum leap during the past 30 years. Listen to any Pop, Jazz, Country and even some Classical recordings with piano from the 1960's or 70's and you will hear immediately how piano tuning has improved. While I have been able to put many ideas from many PTG members into practice, it has been the teachings of Owen Jorgensen RPT and Jim Coleman, Sr. RPT which have made the most difference in my work. I hope to be able to help you tune the piano in a more enlightened way through this article. The subject here is Equal Temperament (ET). I have adapted some techniques used to tune Historical Temperaments which will make your efforts easier to execute and lead to greater precision and accuracy. I will also include techniques learned from Jim Coleman involving coincident partials (explanation of the term to follow). Also included will be techniques used by PTG’s Certified Tuning Examiners (CTE) to both effect the Exam Master Tuning and to verify errors on the Exam. Understanding each of these combined Techniques will help you pass and hopefully excel not only at the Exam but in all of your professional work to follow. ET is the model used for the PTG RPT Tuning Exam. Tuning standards have advanced in recent times principally because of two forces: Electronic Tuning Devices (ETD) and the Exam itself. -
Kurikulumski Pristup Oblikovanju Profesionalnoga Osnovnoga Glazbenog Obrazovanja
FILOZOFSKI FAKULTET Nikolina Matoš, mag. mus. KURIKULUMSKI PRISTUP OBLIKOVANJU PROFESIONALNOGA OSNOVNOGA GLAZBENOG OBRAZOVANJA DOKTORSKI RAD Mentorica: izv. prof. dr. sc. Snježana Dobrota Zagreb, 2018. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Nikolina Matoš, mag. mus. CURRICULAR APPROACH TO PROFESSIONAL ELEMENTARY MUSIC EDUCATION DESIGN DOCTORAL THESIS Supervisor: associate professor Snježana Dobrota, Ph. D. Zagreb, 2018. SADRŽAJ …………………………….……………………………………………………… I Zahvale ………………………………..………………………………………..…………… XI Životopis mentorice ………………….……………………………………………..……… XII Sažetak ……………………………………...……………………………………..……… XIV Summary …………………………………..……………………………………………… XVI 1. UVOD ……………………………………………………………………………..………. 1 2. PROFESIONALNO GLAZBENO OBRAZOVANJE ………………………….…… 13 2.1. Povijesno-komparativni pristup profesionalnom glazbenom obrazovanju …..… 14 2.2. Ključna obilježja suvremenih glazbenoobrazovnih sustava …………………… 29 2.2.1. Glazbenoobrazovni sustavi u Europi ………………………………… 42 2.2.2. Kraći pregled glazbenoga obrazovanja u SAD-u …………….……… 60 2.2.3. Glazbeno obrazovanje u Hrvatskoj ………………………..………… 61 2.2.3.1. Djelatnost glazbenih škola kao dio umjetničkoga obrazovanja ……………………………………………………………………….. 62 2.2.3.2. Organizacija glazbenoga odgojno-obrazovnoga procesa …... 67 2.2.3.3. Stjecanje stručnih kvalifikacija i kompetencije učitelja/nastavnika ……………………………………...…………… 76 2.2.3.4. Zakonska regulativa glazbenoga obrazovanja u Hrvatskoj .....79 2.3. Usporedba hrvatskog glazbenoobrazovnog sustava sa sustavima u Europi i SAD-u ……………………………………………………………………………………..… -
Trevor De Clercq Curriculum Vitae
Trevor de Clercq curriculum vitae 1301 East Main Street, Box 21 office: (615) 898-5821 Murfreesboro, TN 37132 [email protected] ACADEMIC APPOINTMENTS 2019–present Middle Tennessee State University, Murfreesboro, TN. Associate Professor, Department of Recording Industry. 2013–2019 Middle Tennessee State University, Murfreesboro, TN. Assistant Professor, Department of Recording Industry. 2012–2013 Ithaca College, Ithaca, NY. Visiting Assistant Professor, Music Theory. 2011–2012 Hofstra University, Hempstead, NY. Adjunct Assistant Professor, Music. 2011 Adelphi University, Garden City, NY. Adjunct Faculty Member, Music. 2008–2010 Eastman School of Music, Rochester, NY. Instructor, Music Theory. 2009 University of Rochester, Rochester, NY. Instructor, Electrical and Computer Engineering. EDUCATION 2020 Middle Tennessee State University, Murfreesboro, TN. Completion of calculus-based coursework in statistics equivalent to an undergraduate Minor in Mathematics. 2012 Eastman School of Music, Rochester, NY. Ph.D., Music Theory. Dissertation: “Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music.” Primary Advisor: David Temperley. 2008 Eastman School of Music, Rochester, NY. M.A., Music Theory. Theory with Matthew Brown, John Covach, Dave Headlam, Steven Laitz, William Marvin, Marie Rolf, David Temperley, Dariusz Terefenko, and Robert Wason. Composition with Robert Morris. 2004 Cleveland Institute of Electronics. Cleveland, OH. A.A.S., Electronics Engineering Technology. 2000 New York University, New York, NY. M.M., Music Technology. Stephen F. Temmer Tonmeister Honors sequence. Thesis: “A More Realistic View of Mid/Side Stereophony.” 1996 Cornell University, Ithaca, NY. B. A., Music Theory and Composition. Cum Laude in Music Composition, Distinction in All Subjects (top 10% of class). Music theory with Kofi Agawu, Edward Murray, and James Webster. -
A Constructivist Approach to Developing Interactive Digital Technology for Musical Learning
Adam Matthew Hart A Constructivist Approach to Developing Interactive Digital Technology for Musical Learning A thesis presented in partial fulfilment of the requirements of the University of Salford for the degree Doctor of Philosophy School of Arts & Media University of Salford, UK September 2018 Table of Contents List of Figures vi List of Tables xii Acknowledgments xiii Declaration xiv Abstract xv 1. Introduction 1 1.1 About the Project 2 1.1.1 Overview 2 1.1.2 The Relevance of Constructivism 3 1.1.3 Validation and Dissemination 5 1.1.4 Limitations 6 1.1.5 Structure and Approach 8 1.1.6 Ethics 10 1.2 About the Researcher 10 1.2.1 Qualifications and Experience 10 1.2.2 Theoretical Orientations 11 2. Research Context 1: Constructivism & Creativity 13 2.1 What is Constructivism? 14 2.1.1 Overview 14 2.1.2 Emergence 14 2.1.3 Cognitive and Social Constructivism 16 2.1.4 Constructivism and Digital Technology 19 2.2 Constructivism and Music Education 22 2.2.1 Curriculum and Instruction 22 2.2.2 Musical Creativity in the Classroom 28 2.2.3 Supporting Musical Creativity with Digital Technology 31 i 2.3 Summary 39 3. Research Context 2: Environment & Interaction 42 3.1 Digital Technology in Creative Learning Environments 43 3.1.1 Visible Learning 43 3.1.2 Tangible (‘Hands-on’) Learning 45 3.1.3 Augmented Learning 48 3.2 Digital Technologies in the Music Classroom 49 3.2.1 Overview 49 3.2.2 Listening and Appraising 51 3.2.3 Performance 52 3.2.4 Composition 54 3.3 Learning from Games 56 3.3.1 Sandbox Games 56 3.3.2 Educational Applications 58 3.4 Summary 59 4. -
Musescore - Wikipedia
MuseScore - Wikipedia https://en.wikipedia.org/wiki/MuseScore MuseScore MuseScore is a scorewriter for Windows, MuseScore macOS, and Linux, comparable to Finale and Sibelius,[4] supporting a wide variety of file formats and input methods. It is released as free and open-source software under the GNU General Public License. MuseScore is accompanied by a freemium mobile score viewer and playback app, and an online score sharing platform. Contents MuseScore 2.0 in full screen, showing History palettes, inspector, and piano keyboard Features Original author(s) Werner Schweer Supported file formats Developer(s) The MuseScore Online score sharing developer Mobile player community[1] Portable application Initial release 4 February 2011[2] Versions Stable release 3.3.2 / 14 November Pre-release 2019 MuseScore 1 MuseScore 2 Repository github.com MuseScore 3 /musescore /MuseScore (https:// Development github.com/musesco Adoption re/MuseScore) Crowd-sourced engraving projects Written in C++, Qt Open Goldberg Variations Open Well-Tempered Clavier Operating system Windows 7 and Braille editions later, Linux, macOS OpenScore 10.10 and later MuseScore.com copyright issues Platform x86-64 (Windows, Linux and macOS), See also IA-32 (Windows References only) Size 101 to 144 MB History Available in 20 languages[3] 1 von 10 19.11.19, 16:51 MuseScore - Wikipedia https://en.wikipedia.org/wiki/MuseScore MuseScore was originally created as a fork List of languages of the MusE sequencer's codebase. At that Afrikaans, Catalan, Chinese (Traditional- time, MusE included notation capabilities Hong Kong, Traditional-Taiwan and and in 2002, Werner Schweer, one of the Simplified), Czech, Danish, Dutch, English MusE developers, decided to remove (United Kingdom and United States), notation support from MusE and fork the French, Galician, German, Hungarian, code into a stand-alone notation program. -
Sight Reading
Sight Reading Is sight-reading an innate ability or a skill that can be developed? Experts in the field of Sight-Reading all agree that the following aspects play a role in the development of sight-reading as a skill: • Music Study (years of experience) • Music Knowledge: theory, style, pattern recognition • IQ…. • Ear Training development • Perception (Where is Wally?) • Psychomotor skill (reaction time) • Personality • Practicing habits • Technical ability • Attitude • Memorisation ability (working memory) • Creative skills: improvisation and arrangement The GOOD NEWS is that most of the above aspects are skills that can be developed! Sight-reading is part of the Art of Interpretation. Therefore instant comprehension is necessary of what you see on the score to have meaningful ‘communication’ with the listener. There is strong link between music theory, ear training, keyboard proficiency and sight reading. MUSIC KNOWLEDGE In order to read music with comprehension, one has to have a thorough knowledge of music theory. Here is a comprehensive list of concepts. A. NOTATION • Pitch: staff, clefs, space and line notes, stem direction, leger lines, sharps, flats, natural signs, key signatures, enharmonic ‘spelling’ • Time: note lengths, rests, time signatures, pulse/beat, counting methods, anacrusis, dots, ties, irregular note groups, grouping rules, syncopation, rhythm patterns • Style: dynamics, accents, articulation B. DEFINITIONS • Rhythm: beat/pulse, bar, syncopation, rhythm patterns, time signatures • Timbre: tone quality • Melody: ornaments,